A playful look at Jewish coming-of-age and coming-to-terms in the American West.
In a comic debut, the lives of five characters come undone at a remote Colorado summer camp.
It takes more than 300 pages for first-time novelist Abel to reveal the meaning of her title, delivered in the baritone of melancholy Ira Silver, who has shuttered his radical left newspaper: “Maybe everybody has one decade, call it an optimistic decade, when the world feels malleable and the self strong.” Twelve pages later, his wife and partner, Georgia, succinctly disagrees: “Such typical Ira bullshit, creating a universal theory out of his own personal malaise.” The recipient of this yin and yang commentary is their daughter, Rebecca, a Berkeley undergraduate, late to her own coming-of-age party. As the novel begins, Ira mystifies Rebecca by ordering her to a high-altitude summer camp: “He’d never given her a gift of any kind before, material or experiential.” The destination, called Llamalo, is run by her charismatic cousin, Caleb, “his name the birdsong of this place.” He tells campers “Llamalo is an invitation to act differently, to be someone new. How often do you get that chance?” Caleb is a bit of a hustler; he bought the failing spread of a small cattle farmer, Don Talc, and his son, Donnie, whose resentment at losing the land morphs into a kind of Cliven Bundy–style rage. Abel is excellent at class resentment and its signifiers—Caleb cleans out the faltering town’s clothes and tools and figurines at auction for camp costumes and art projects. Abel writes in larking, pleasurable sentences, letting each protagonist—including David Cohen, devoted camper and Rebecca’s childhood friend—wrestle with loneliness and horniness and purpose. The story moves across one summer in the early 1990s, with short, clever flashbacks to the Reagan-era 1980s. But the pacing is off: Very little happens in the first third and too much is crammed into the last stretch.
A playful look at Jewish coming-of-age and coming-to-terms in the American West.Pub Date: May 1, 2018
ISBN: 978-1-61620-630-7
Page Count: 368
Publisher: Algonquin
Review Posted Online: March 19, 2018
Kirkus Reviews Issue: April 1, 2018
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.
Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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